Deutsche Börse Photography Prize 2013

The winner of the annual Deutsche Börse Photography Prize was announced on Monday 10 June 2013: Adam Broomberg & Oliver Chanarin. Other photographers, who were shortlisted for this year’s prize, were: Mishka Henner, Chris Killip and Cristina De Middel. The price is presented by The Photographers’ Gallery, London. Work by the shortlisted photographers will be shown in an exhibition at The Photographers’ Gallery, Summer 2013, followed by its presentations at the Deutsche Börse headquarters in Frankfurt/Eschborn (special exhibition from 12 September until 29 November) and at C/O Berlin, Forum for visual dialogs.

The Jury

The members of the Deutsche Börse Photography Prize 2013 jury were: Joan Fontcuberta, artist; Andréa Holzherr, Exhibition Manager, Magnum; Karol Hordziej, Artistic Director, Krakow Photomonth; and Anne-Marie Beckmann, Curator, Art Collection Deutsche Börse. Brett Rogers, Director of The Photographers’ Gallery, was the non-voting Chair.

The Shortlist

Adam Broomberg & Oliver Chanarin, Plate 26, George Bush serves a Thanksgiving turkey to US troops stationed in Baghdad in 2003, 2011; (photo Tim Sloan), work on paper, 24cm x 29cm, 2011

Adam Broomberg & Oliver Chanarin

Adam Broomberg (b. 1970, South Africa) & Oliver Chanarin (b. 1971, UK) are nominated for their publication “War Primer 2” (2012). The limited edition book physically inhabits the pages of Bertolt Brecht’s publication “War Primer” (1955). In the original, Brecht matched WWII newspaper clippings with short poems that seek to demystify press images, which he referred to as ‘hieroglyphics’. In “War Primer 2” Broomberg & Chanarin choose to focus on the ‘War on Terror’; sifting through the internet for low resolution screen-grabs and mobile phone images, the artists then combined them to resonate with Brecht’s poems. Through this layering of photographic history, Broomberg & Chanarin offer a critique of photographs of contemporary conflict and their dissemination—a theme that has been at the centre of their practice for fifteen years.

Mishka Hennner, SS98, Cerignola Foggia, Italy, 2012, © Mishka Henner

Mishka Henner

(born 1976, BEL) is nominated for his exhibition No Man’s Land at Fotografia Festival Internazionale di Roma, Museum of Contemporary Art, Rome, Italy (20 September – 28 October 2012). In “No Man’s Land” Henner explores the margins of European urban and rural environments with images produced using Google Street View. Identifying geographic locations from online forums where men share information on the whereabouts of sex workers, Henner visits and records these sites using the mechanical gaze of car-mounted cameras. Henner’s work poses complex questions about the blurring of boundaries between voyeurism, online information gathering and privacy rights.

Chris Killip, Youth on Wall, Jarrow, Tyneside, 1976, © Chris Killip

Chris Killip

(born 1946, UK) is nominated for his exhibition “What Happened Great Britain 1970 – 1990” at Le Bal, Paris (11 May – 19 August 2012). In this series of stark black and white images Killip chronicles the disintegration of industrial Britain in working class communities in the north of England. Immersing himself in the lives of the people he documented, Killip tells personal stories of men at work set against a backdrop of socio-political upheaval.

Cristina de Middel, Jambo, from the series “The Afronauts”, 2012, 30 x 30 cm, © Cristina de Middel

Cristina De Middel

(born 1975, Spain) is nominated for her publication “The Afronauts” (2011, self-published). In 1964, after gaining independence, Zambia started a space programme led by Edward Makuka Nkoloso, sole member of the unheard of National Academy of Science, Space Research and Philosophy. The programme, whose aim was to send the first African astronauts to Mars, was soon cancelled, becoming no more than an amusing anecdote in the country’s history. In “The Afronauts”, De Middel creates a subjective version of the story engaging with myths and truths. The book is comprised of a series of constructed colour photographs, sequenced alongside drawings and reproductions of letters, resulting in a fictional portrait of a national dream.